本文選題：宋代山水　切入點：構圖形式　出處：《渤海大學》2014年碩士論文　論文類型：學位論文

【摘要】：兩宋是中國山水畫史上的鼎盛時期，，這一階段里山水畫有了巨大的發(fā)展。根據(jù)對兩宋山水畫構圖形式這條線索的研究，可以清楚地認識到宋代山水畫的發(fā)展軌跡。北宋山水構圖形式和南宋山水畫構圖形式之間有巨大差異，這些差異既有時代的影響，也有山水畫發(fā)展自身構成要素變化的影響。整體看來，兩宋山水畫之間的過渡是既有繼承，又有發(fā)展的。 首先，山水畫的發(fā)展進入北宋，仍然延續(xù)唐朝五代的構圖方式，在此基礎上有所發(fā)展變化，不同于展子虔《游春圖》將山水的空間處理為“咫尺之內，而瞻萬里之遙”，也不同于李思訓和李昭道父子側重金碧青綠的裝飾性，而是強化了高山大川的主導性，尤以范寬《溪山行旅圖》為代表。其實，這種變化從唐代、宋代的畫論中都能找到強有力的支撐。而程朱理學的發(fā)展要求一切都放在理性的天平上，認真觀察自然，對山水畫的真實表現(xiàn)也起到了推動作用。 但是，到了南宋后，這種形勢發(fā)生了很大轉變。一方面，由于國土淪喪，帶來了畫家心理上的不平。這種不平和抑郁之氣，以及對時代的認識，自然而然就反映在了繪畫中。強調邊景構圖，強化筆法的剛勁有力，仿佛要在狹小的國土中迸發(fā)出悲憤之氣息。從山水畫的構圖形式特點上來說，南宋的山水畫由北宋的“全景山水”為主轉換為“截景山水”為主。
[Abstract]:The Song Dynasty was the heyday of the history of Chinese landscape painting, and the landscape painting had a great development in this period. According to the research on the clue of the composition form of the landscape painting of the two Song dynasties, We can clearly recognize the development track of landscape painting in Song Dynasty. There are great differences between the composition form of landscape painting in Northern Song Dynasty and the composition form of landscape painting in Southern Song Dynasty. These differences have the influence of the times. As a whole, the transition between landscape painting in Song Dynasty is both inherited and developed. First of all, the development of landscape painting into the Northern Song Dynasty, still continue the Tang Dynasty and five dynasties of composition, on this basis has developed and changed, is different from the exhibition of "Spring Festival Pictures" to treat the landscape space as "within a distance," And the distance between the thousands of miles, "is also different from Li Si-hun and Li Zhaodao's father and son focusing on the decorative nature of Jin, Bi, and Green, but strengthens the dominant role of the mountains and the great rivers, as represented by Fan Kuan's" Hsi Shan Travel Map ". In fact, this kind of change took place in the Tang Dynasty. The development of Neo-Confucianism of Cheng and Zhu requires that everything be put on the balance of reason, observe nature carefully, and promote the true performance of landscape painting. However, after the Southern Song Dynasty, this situation changed greatly. On the one hand, due to the loss of the land, it brought about the psychological injustice of the painters. Naturally reflected in painting. Emphasis on the edge of the scene composition, strengthen the strength of the pen, as if to burst out in the narrow land of grief and indignation. From the landscape painting composition form characteristics, The landscape painting of the Southern Song Dynasty was transformed from the panoramic landscape to the clipping landscape.
【學位授予單位】：渤海大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J212

【參考文獻】

相關期刊論文 前1條

1 馬公偉;淺析五代、兩宋山水畫的空間布局特征[J];平頂山師專學報;1997年07期

本文編號：1575128